पवन के झोंके आ

Yashodanandan Joshi addresses the breeze directly in this lyric for Jagannath Prakash's score. The device is among the most durable in the Indian tradition — the wind and the cloud as carriers of message and mood, a line of descent that runs from Kalidasa's Meghaduta down through the barahmasa and into film song. Nothing else about the number is documented: no singer credit, no surviving recording, no picturisation note.

Composed by Jagannath Prakash, like every song in the film. No accessible recording exists, so the tune, its tempo and its scoring are all unknown, and no reconstruction is attempted here. In the surviving ten-title list this is one of four lyrics that read as love-and-longing songs rather than as devotional or narrative numbers.

Calling to the wind is a way of speaking to someone who is not present without admitting that they are absent; the address stays outward while the feeling stays private. Joshi builds the title on the plural 'jhonke' — gusts, not a single breeze — which keeps the image restless rather than serene, the small technical choice that separates a longing song from a pastoral one.

Shri Krishnarjun Yudh was produced and directed by Mohan Sinha for his own banner, Murari Pictures, and dramatises the Puranic quarrel in which Krishna's vow to behead Chitrasen collides with Subhadra's promise to protect him, forcing Arjun to take the field against his closest friend. Prithviraj Kapoor, Shobhana Samarth, Shahu Modak, Trilok Kapoor, Kanhaiyalal Chaturvedi, Menaka Devi and Rattan Bai are in the cast. Jagannath Prakash composed all ten documented songs; Yashodanandan Joshi and Safdar Aah wrote the lyrics that carry a credit.

No recording of this song is known to circulate today — it is absent from the streaming catalogues, from YouTube, and from the archival compilations of 1940s film music. What survives is the catalogue line: a title, a composer, and in most cases a lyricist. That is a common fate for the output of a small independent banner in the mid-1940s, when only songs that sold well as 78-rpm discs were repressed often enough to survive the decades that followed.